The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2015 “Forget the Old . The New Wonder Woman is Here”: The New Wonder Woman and the Feminist Movement, 1968-1972 Kristi N. Fleetwood University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Fleetwood, Kristi N., "“Forget the Old . The New Wonder Woman is Here”: The New Wonder Woman and the Feminist Movement, 1968-1972" (2015). Honors Theses. 315. https://aquila.usm.edu/honors_theses/315 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi “Forget the Old . The New Wonder Woman is Here”: The New Wonder Woman and the Feminist Movement, 1968-1972 by Kristi Fleetwood A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in the Department of English May 2015 ii Approved by Eric Tribunella, Ph.D., Thesis Advisor Associate Professor of English Eric Tribunella, Ph.D., Chair Department of English Ellen Weinauer, Ph.D., Dean Honors College iii Abstract In 1968, Wonder Woman gives up her powers and embraces her human identity as Diana Prince. Powerless, she learns martial arts and continues to fight. The majority of discussion surrounding the Diana Prince era—Wonder Woman #178-204—argues for the period as embracing anti-feminist sentiment. This analysis of the Diana Prince era argues that the portrayal of Diana Prince without her superhero persona aligns with the ideals of the 1970s feminist movement. By incorporating general themes and ideas of feminism, the comic portrays Diana Prince in a feminist light throughout the comic. Even though her powers are striped, she is able to be an empowered, human woman who can still fight alongside Superman and Batman. She learns karate, like many feminist magazines encourage during the 1970s. She is able to defend Batman and Superman when they are not in their superhero costumes. Also, she is able to embrace her emotions, often stereotyped as feminine, and is often seen crying, but that does not hinder her ability to fight. This research concludes that the current conversation surrounding this era needs to consider these feminist elements of the comics and embrace the possibility that she presented a truer, feminine superhero that has not been seen since Wonder Woman’s powers were reinstated. Key Words: Wonder Woman, Diana Prince, Feminism, Superheroes, Comic Books iv Table of Contents INTRODUCTION ...............................................................................................................1 ANALYSIS Losing Powers, Gaining the Fight ...............................................................................11 Comparing Diana Prince and Dr. Cyber ......................................................................19 Diana Prince in Relation to Other Superheroes ...........................................................21 Diana Prince’s Emotions as Empowering....................................................................28 CONCLUSION ..................................................................................................................34 WORKED CITED .............................................................................................................39 v Introduction: “Because not all females are helpless!”—Diana Prince In July 1972, a Godzilla-sized Wonder Woman stormed through a city street on the cover of the first independent issue of Ms.1, the magazine created under the direction of feminist activist Gloria Steinem with the hopes of nationalizing the feminist agenda. At the same time in comics, Wonder Woman was on the back burner, however, and Diana Prince, her alter ego, was the “New Wonder Woman” without any superpowers. In Ms., Diana Prince was criticized by Joanne Edgar, who wrote that the problem with Diana Prince as the “new” Wonder Woman was that “[r]ather than proving her superiority over men, she became more and more submissive…she became a female James Bond, but without his sexual exploits. The double standard applied even to her” (Edgar 53). Wonder Woman’s surrendering her powers, in this view, was seen as her submitting to men despite the feminist movement, which promoted women’s gaining equal rights. Through the analysis of The New Wonder Woman2 in the context of second wave feminism, I argue that Diana Prince’s portrayal actually embraces the ideals of the feminist movement, despite claims to the contrary by some feminist critics. When Wonder Woman was originally created in the 1940s, her creator, William Moulton Marston, believed that the comic books lacked well-rounded female characters, claiming, “not even girls want to be girls so long as our feminine archetype lacks force, strength, power” (Marston 42). Those three traits, he thought, were only found in the 1 Prior to this point, Ms. was an insert in the New York Times. 2 These comics encompass the time period when Wonder Woman receives a makeover in Wonder Woman issue 178 (released in 1968), in preparation for Wonder Woman losing her powers in issue number 179, and ending when she gains her powers back in number 204. Wonder Woman never officially changed name, but the cover title became The New Wonder Woman from issue 179 through 195, and Diana Prince: Wonder Woman from 196 through 203. For the sake of consistency and clarity, I will refer to Wonder Woman issues 178-204 as the period of The New Wonder Woman. 1 male characters. The ideal woman of the 1940s was defined as a woman who was both beautiful and submissive. Marston sought to change this when Wonder Woman, “a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman” (42-43), first appeared in All Star Comics #8 in December 1941. Starting off in an isolated back insert, Wonder Woman soon joined the Justice Society (which featured superheroes like Superman and Batman), initially as their secretary while the league fought against Axis forces in World War II. Eventually, Wonder Woman would have a more prominent role in the Society and garner enough attention to warrant the lead role in her new showcase Sensation Comics starting in January 1942 (Daniels 31). By the summer of 1942, a year after her creation, the Wonder Woman comic was created, “making the Amazon one of only a handful of characters considered strong enough to carry an entire publication” (37). In the first issues of Wonder Woman, Marston expands on Wonder Woman’s origin myth. On an island without men, Queen Hippolyta was unable to produce a child through natural means. She molds a child from clay and prays to Aphrodite to grant the statue the gift of life. As the child grows up the reader is able to see how Diana has “the beauty of Aphrodite, the wisdom of Athena, the strength of Hercules and the speed of Mercury” (Marston & Peter 7A). When American Army officer Steve Trevor crashes his plane in the waters near Paradise Isle, it is Diana who rescues him and nurses him back to health. However, he is forced to return back to “the warring world of men” (8A), though he is not well enough to travel alone. “A young Amazon must take the Captain back to America—she must remain there to fight war and evil,” Aphrodite instructs. A championship is waged to see which Amazon is worthy enough to accompany Trevor 2 back to America and help combat evil. Diana, of course, wins. She is given her uniform and renamed Wonder Woman. During her time as a superhero, Wonder Woman evolves from her Amazonian roots into a modern day feminist icon, inspiring women like Steinem at a young age to break free from common stereotypes like the ones that Marston described. However, for some, her feminist status was compromised in the 1960s when the character was de- powered (Stanley 154; Robinson 82; Walowit 35; Steinem; Edgar). In 1968, Wonder Woman has a problem: the Amazons (of which she is descended) need to leave this world because their power is depleted, but that means Wonder Woman must leave humanity behind. Instead, she leaves her Amazonian sisters and gives up her powers and her Wonder Woman persona to stay with humankind, embracing her identity as Diana Prince. She buys her own business, a fashion boutique, and begins to learn martial arts under the training of a martial arts master I-Ching. Over the next several issues, Diana and I-Ching work together in order to overcome various world threats, with Diana normally taking the lead in the fight, even when assisted by men. By issue number 203, Diana Prince addresses women’s liberation head on by joining a women’s “lib” group and protesting the unfair treatment of female workers. The plan backfires and hundreds of women lose their jobs, and there is no resolution to the women’s liberation issue. Feminists like Gloria Steinem campaigned in the early 1970s to get Wonder Woman—and not a powerless Diana Prince—back on the cover of the comics; by issue 204, Diana Prince is granted her powers and is once again Wonder Woman (Daniels 133-134). 3 While few scholarly texts focus on Wonder Woman, there are some that address Wonder Woman’s history or the issue of female superheroes. Les Daniels’s Wonder Woman provides an encyclopedic resource on the various stages of Wonder Woman, detailing not only her comic book life but also her social impact. He provides background on Marston’s scholarly life, the beginning life of the Amazon, and the way she changes over time. Most importantly, he points out that the change Diana Prince undergoes in 1968 impacted the character in ways never expected: “it transformed the Amazon into a political symbol of national significance and exposed her to an ideological scrutiny that she has never entirely escaped” (Daniels 123).